History Music / JorgeBenJor

In 1989, he would change his artistic name to '''Jorge Ben Jor''', a move thought to have been made either because of his move to Warner. Or in response to an incident where some of his royalties accidentally went to African-American jazz and R&B guitarist George Benson. In 1991, his "W/Brasil (Chama o Síndico)" (a tribute to musician and friend Music/TimMaia) became a big dancefloor hit in Britain and in Europe as a new generation of young people discovered his work. And in November 1997, he was paid tribute to by 12 artists including Fernanda Abreu, Carlinhos Brown, Paralamas do Sucesso, Skank, and Skowa on ''Músicas Para Tocar em Elevador''. Soon later in the 2000s, Ben would come back to recording with the records, ''Reactivus amor est (Turba Philosophorum)'' and ''Recuerdos de Asunción 443''.

This would lead his label to attempt to capitalize on the success with immediate follow-up albums. The label would soon pressure Ben to hastily record songs imitative of his debut, along with cover songs, resulting in the three albums within the span of 18 months. This would make him leave the label after his 1965 album ''Big Ben''. In the late 60s and early 70s, Ben would become affiliated with the multidisciplinary [[https://en.m.wikipedia.org/wiki/Tropic%C3%A1lia Tropicália]] movement. With the backing band Trio Mocotó, his albums would experiment more with psychedelia and become more concerned with topics as varied as Afro-Brazilian identity, women and [[UsefulNotes/AssociationFootball football]].

Considered one of the founders of samba rock (although I don't like the name samba rock), his music continues to be covered and rediscovered by younger generations and is still considered to be one of the most diverse musicians to come out of Brazil.

Soon, Ben started his musical career in 1961, as a pandeiro player with the Copa Trio, led by organist Zé Maria. He performed his early songs at Beco das Garrafas, one of the few places in Rio at the time that featured Brazilian {{jazz}} and bossa nova. Simultaneously, he was a rock singer at the Plaza nightclub (noted for putting on artists such as [[https://en.m.wikipedia.org/wiki/Johnny_Alf Johnny Alf]], pioneer of bossa nova). Although his sound would put him at odds with the rockier sounds of the Jovem Guarda and traditional samba with its fleet, airy sound and elaborate lyricism. In 1963, he had two of his songs recorded, "Mas, Que Nada" and "Por Causa de Você", which he interpreted on Zé Maria's ''Tudo Azul'', it would be followed by an invitation from the Philips label to record his own single with the same songs, with backing from the samba jazz band Copa Cinco. The label's gamble proved a success at radio and on store shelves. The same year, they issued his debut album, ''Samba Esquema Novo''. It would prove immensely popular, receiving great acclaim with the track "Mas, Que Nada" becoming popular outside of his native Brazil with musicians as varied as Music/DizzyGillespie to Klaus Wunderlich covering and re-interpreting it.

Born Jorge Duilio Lima Menezes in the Rio Comprido borough of Rio de Janeiro, he lived in poverty and would only learn how to play an instrument at age 13, playing the pandeiro (basically, a Brazilian tambourine) in the blocos (Brazilian street bands) of Carnaval and began singing at his local church choir. At 16, he was already a member of the Matoso's Gang, a group made up of a bunch of friends who would later become famous musicians in their own rite, such as Erasmo Carlos, Robeto Carlos and Music/TimMaia and by 18, he had been playing guitar. He had influences from Brazilian and American music, {{Samba}} and BossaNova from João Gilberto's guitar and also by the rock form Music/LittleRichard and Ronnie Self, became known by the nickname "Babulina", in reference to "Bop-A-Lena, a {{rockabilly}} by Ronnie Self (Tim Maia also had the same nickname).

Soon, Ben started his musical career in 1961, as a pandeiro player with the Copa Trio, led by organist Zé Maria. He performed his early songs at Beco das Garrafas, one of the few places in Rio at the time that featured Brazilian jazz and bossa nova. Simultaneously, he was a rock singer at the Plaza nightclub (noted for putting on artists such as [[https://en.m.wikipedia.org/wiki/Johnny_Alf Johnny Alf]], pioneer of bossa nova). Although his sound would put him at odds with the rockier sounds of the Jovem Guarda and traditional samba with its fleet, airy sound and elaborate lyricism. In 1963, he had two of his songs recorded, "Mas, Que Nada" and "Por Causa de Você", which he interpreted on Zé Maria's ''Tudo Azul'', it would be followed by an invitation from the Philips label to record his own single with the same songs, with backing from the samba jazz band Copa Cinco. The label's gamble proved a success at radio and on store shelves. The same year, they issued his debut album, ''Samba Esquema Novo''. It would prove immensely popular, receiving great acclaim with the track "Mas, Que Nada" becoming popular outside of his native Brazil with musicians as varied as Music/DizzyGillespie to Klaus Wunderlich covering and re-interpreting it.

Jorge Ben Jor (formerly Jorge Ben up until the late 80s) is a Brazilian singer, songwriter and guitarist. One of the most important Brazilian composers and performers to appear in the 1960s, Jorge Ben Jor would prove to be successful with blending Afro-Brazilian samba with Afro-American {{funk}} music.

Born Jorge Duilio Lima Menezes in the Rio Comprido borough of Rio de Janeiro, he lived in poverty and would only learn how to play an instrument at age 13, playing the pandeiro (basically, a Brazilian tambourine) in the blocos (Brazilian street bands) of Carnaval and began singing at his local church choir. At 16, he was already a member of the Matoso's Gang, a group made up of a bunch of friends who would later become famous musicians in their own rite, such as Erasmo Carlos, Robeto Carlos and Music/TimMaia and by 18, he had been playing guitar. He had influences from Brazilian and American music, samba and BossaNova from João Gilberto's guitar and also by the rock form Music/LittleRichard and Ronnie Self, became known by the nickname "Babulina", in reference to "Bop-A-Lena, a {{rockabilly}} by Ronnie Self (Tim Maia also had the same nickname).

* {{Genre Mashup}}: He merged samba with {{rock}}, {{soul}}, {{funk}}, after all, [[GarnishingTheStory everything's better with]] samba.

* ThePowerOfRock: Several of his songs talk about the samba, since one of his first songs, Mas que nada.

Born Jorge Duilio Lima Menezes in the Rio Comprido borough of Rio de Janeiro, he lived in poverty and would only learn how to play an instrument at age 13, playing the pandeiro (basically, a Brazilian tambourine) in the blocos (Brazilian street bands) of Carnaval and began singing at his local church choir. At 16, he was already a member of the Matoso's Gang, a group made up of a bunch of friends who would later become famous musicians in their own rite, such as Erasmo Carlos, Robeto Carlos and Music/TimMaia and by 18, he had been playing guitar. He had influences from Brazilian and American music, samba and bossa nova from João Gilberto's guitar and also by the rock form Music/LittleRichard and Ronnie Self, became known by the nickname "Babulina", in reference to "Bop-A-Lena, a {{rockabilly}} by Ronnie Self (Tim Maia also had the same nickname).

Into the mid-70s, his work would become even more experimental, as on records such as ''A Tábua de Esmeralda'' and ''Solta o Pavão'' he would further entrench his sound with psychedelic influence and his lyricism would become enraptured by western esotericism (particularly [[https://en.m.wikipedia.org/wiki/Hermeticism Hermeticism]]). The following year, he released one of his most popular albums, ''Music/AfricaBrasil'', a fusion of {{funk}} and samba which relied more on the electric guitar than previous efforts. This album also features a remake of a previously released song called "Taj Mahal". Which became somewhat infamous after it's melody found its way onto Music/RodStewart's "Do Ya Think I'm Sexy", leading a plag iarism suit filed by Jorge.

Into the mid-70s, his work would become even more experimental, as on records such as ''A Tábua de Esmeralda'' and ''Solta o Pavão'' he would further entrench his sound with psychedelic influence and his lyricism would become enraptured by western esotericism (particularly [[https://en.m.wikipedia.org/wiki/Hermeticism Hermeticism]]). The following year, he released one of his most popular albums, ''Music/AfricaBrasil'', a fusion of {{funk}} and samba which relied more on the electric guitar than previous efforts. This album also features a remake of a previouly released song called "Taj Mahal". Which became somewhat infamous after it's melody found its way onto Music/RodStewart's "Do Ya Think I'm Sexy", leading a plag iarism suit filed by Jorge.

{{Genre Mashup}}: He merged samba with {{rock}}, {{soul}}, {{funk}}, after all, [[GarnishingTheStory everything's better with]] samba.

{{OneWomanSong}}: "Xica da Silva", "Cadê Tereza", "Domingas", "Domênica Domingava Num Domingo Toda De Branco", "Bebete Vãobora", "Carolina Carol Bela", among others.

ThePowerOfRock: Several of his songs talk about the samba, since one of his first songs, Mas que nada.

Jorge Ben Jor (formerly Jorge Ben up until the late 80s) is a Brazilian singer, songwriter and guitarist. One of the most important Brazilian composers and performers to appear in the 1960s, Jorge Ben Jor would prove to be successful with blending Afro-Brazilian samba with Afro-American funk music.

* ThePowerOfRock: Several of his songs talk about the samba, since one of his first songs, Mas que nada.

Born Jorge Duilio Lima Menezes in the Rio Comprido borough of Rio de Janeiro, he lived in poverty and would only learn how to play an instrument at age 13, playing the pandeiro (basically, a Brazilian tambourine) in the blocos (Brazilian street bands) of Carnaval and began singing at his local church choir. At 16, he was already a member of the Matoso's Gang, a group made up of a bunch of friends who would later become famous musicians in their own rite, such as Erasmo Carlos, Robeto Carlos and Music/TimMaia and by 18, he had been playing guitar.

Soon, Ben started his musical career in 1961, as a pandeiro player with the Copa Trio, led by organist Zé Maria. He performed his early songs at Beco das Garrafas, one of the few places in Rio at the time that featured Brazilian jazz and bossa nova. Simultaneously, he was a rock singer at the Plaza nightclub (noted for putting on artists such as [[https://en.m.wikipedia.org/wiki/Johnny_Alf Johnny Alf]], pioneer of bossa nova). Although his sound would put him at odds with the rockier sounds of the Jovem Guarda and traditional samba with its fleet, airy sound and elaborate lyricism. In 1963, he had two of his songs recorded, "Mas, Que Nada" and "Por Causa de Você", which he interpreted on Zé Maria's ''Tudo Azul'', it would be followed by an invitation from the Philips label to record his own single with the same songs, with backing from the Copa Cinco. The label's gamble proved a success at radio and on store shelves. The same year, they issued his debut album, ''Samba Esquema Novo''. It would prove immensely popular, receiving great acclaim with the track "Mas, Que Nada" becoming popular outside of his native Brazil with musicians as varied as Music/DizzyGillespie to Klaus Wunderlich covering and re-interpreting it.

Into the mid-70s, his work would become even more experimental, as on records such as ''A Tábua de Esmeralda'' and ''Solta o Pavão'' he would further entrench his sound with psychedelic influence and his lyricism would become enraptured by western esotericism (particularly [[https://en.m.wikipedia.org/wiki/Hermeticism Hermeticism]]). The following year, he released one of his most popular albums, ''Music/AfricaBrasil'', a fusion of funk and samba which relied more on the electric guitar than previous efforts. This album also features a remake of a previouly released song called "Taj Mahal". Which became somewhat infamous after it's melody found its way onto Music/RodStewart's "Do Ya Think I'm Sexy", leading a plag iarism suit filed by Jorge.

In 1989, he would change his artistic name to '''Jorge Ben Jor''', a move thought to have been made either because of his move to Warner. Or in response to an incident where some of his royalties accidentally went to African-American jazz guitarist George Benson. In 1991, his "W/Brasil (Chama o Síndico)" (a tribute to musician and friend Music/TimMaia) became a big dancefloor hit in Britain and in Europe as a new generation of young people discovered his work. And in November 1997, he was paid tribute to by 12 artists including Fernanda Abreu, Carlinhos Brown, Paralamas do Sucesso, Skank, and Skowa on ''Músicas Para Tocar em Elevador''. Soon later in the 2000s, Ben would come back to recording with the records, ''Reactivus amor est (Turba Philosophorum)'' and ''Recuerdos de Asunción 443''.

Considered one of the founders of samba rock, his music continues to be covered and rediscovered by younger generations and is still considered to be one of the most diverse musicians to come out of Brazil.

----

* ''Music/OgumXango'' (with Gilberto Gil as Gil e Jorge) (1975)

* ''Jorge Ben à l'Olympia'' (live album (1975)

* ''Gil e Jorge: Ogum, Xangô'' (with Gilberto Gil as Gil e Jorge) (1975)

Soon, Ben started his musical career in 1961, as a pandeiro player with the Copa Trio, led by organist Zé Maria. He performed his early songs at Beco das Garrafas, one of the few places in Rio at the time that featured Brazilian jazz and bossa nova. Simultaneously, he was a rock singer at the Plaza nightclub (noted for putting on artists such as [[https://en.m.wikipedia.org/wiki/Johnny_Alf Johnny Alf]], pioneer of bossa nova). Although his sound would put him at odds with the rockier sounds of the Jovem Guarda and traditional samba with its fleet, airy sound and elaborate lyricism. In 1963, he had two of his songs recorded, "Mas, Que Nada" and "Por Causa de Você," which he interpreted on Zé Maria's Tudo Azul, it would be followed by an invitation from the Philips label to record his own single with the same songs, with backing from the Copa Cinco. The label's gamble proved a success at radio and on store shelves. The same year, they issued his debut album, ''Samba Esquema Novo''. It would prove immensely popular, receiving great acclaim with the track "Mas, Que Nada" becoming popular outside of his native Brazil with musicians as varied as Music/DizzyGillespie to Klaus Wunderlich covering and re-interpreting it.

* "Take It Easy My Brother, Charles"

!!!'''Notable Songs:'''

* "Balança Pema"
* "País Tropical"

* "Oba, Lá Vem Ela"

* "Os Alquimistas Estão Chegando os Alquimistas"

* "Ponta de Lança Africano (Umbabarauma)"